In this provocative book, Barwise and Perry tackle the slippery subject of \"meaning, \" a subject that has long vexed linguists, language philosophers, and logicians.

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Situations and Attitudes.

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The Critique Of Pure Reason

Preface Introduction: The Role of the Reader I. Open 1. The Poetics of the Open Work 2. The Semantics of Metaphor 3. On the Possibility of Generating Aesthetic Messages in an Edenic Language II. Closed 4. The Myth of Superman 5. Rhetoric and Ideology in Sue's Les Mysteres de Paris 6. Narrative Structures in Fleming III. Open/Closed 7. Peirce and the Semiotic Foundations of Openness: Signs as Texts and Texts as Signs 8. Lector in Fabula: Pragmatic Strategy in a Metanarrative Text Appendix 1 Appendix 2 Bibliography

The Role of the Reader: Explorations in the Semiotics of Texts

Preface and acknowledgments Introduction 1. Explanation and dialectics Part I. Philosophy and Economics: 2. Philosophical anthropology 3. Economics 4. Exploitation, freedom and justice Part II. Theory of History: 5. Modes of production 6. Classes 7. Politics and the state 8. Ideologies 9. Capitalism, communism and revolution Conclusion references Index of names index of subjects.

Making Sense of Marx

List of figures and tables Acknowledgments Prologue Part I. Theory and Function: 1. The structure of emotions 2. Intuitive and empirical approaches to understanding 3. Rationality and emotions 4. Mutual plans and social emotions Part II. Conflict and Unpredictability: 5. Plans and emotions in fictional narrative 6. Stress and distress 7. Freud's cognitive psychology of intention: the case of Dora Part III. Enjoyment and Creativity: 8. Happiness 9. Putting emotions into words Epilogue Notes References Author index Subject index.

Best-Laid Schemes: A Psychology of Emotions.

Introduction 1. What are intentions? 2. Intentions and the creation of art 3. Authorship, individual and collective 4. Intentions and oeuvres 5. Texts, works, versions (with reference to the intentions of Monsieur Pierre Menard) 6. Intention and the interpretation of art 7. Fiction and fictional truth

Art and intention

The Routledge companion to philosophy and film.

It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, 1 identify several contentions presented in its favour, including stipulative definitions of 'aesthetic judgement', assertions about conceptual gaps between determinate aesthetic properties and even the most perfect descriptions, and claims about the holistic and sensibility-relative character of aesthetic qualities and values. With reference to considerations advanced by Frank Sibley, Alan H. Goldman, and particularists and anti-particularists in meta-ethics, I contend that strong versions of the apparent truism lack sufficient warrant. Two successors are proposed, however. One reframes the thesis in terms of our contingently limited descriptive and theoretical capacities with regard to a subset of the aesthetic qualities of extraordinary works; the second involves a shift front epistemic to axiological matters: what even the most perfect descriptions cannot provide. and in some cases spoil, is our gauging of an item's inherent, experiential value.

On an Apparent Truism in Aesthetics

Can films make creative contributions to philosophical knowledge, and this by means exclusive to the cinematic medium? Although it may be tempting to offer a positive response to this question, a bold "cinema as philosophy" thesis of this ilk is difficult to defend. A better option, I contend, is to accept a more modest conception of the cinema' s role in the development of philosophical insight. Films can provide vivid and emotionally engaging illustrations of philosophical issues, and when sufficient background knowledge is in place, reflections about films can contribute to the exploration of specific theses and arguments, sometimes yielding enhanced philosophical understanding. In the first section of this essay I briefly identify key components of a type of bold thesis about film's exclusive contribution to philosophy. In Section II, I outline what I take to be a ruinous dilemma facing advocates of such a thesis. In Section III, I sketch an alternative based on some of the illustrative and heuristic roles films can be made to serve.

Theses on Cinema as Philosophy

Introduction Illustrations PART ONE: SURVEYING CINEMA AS PHILOSOPHY 1. Theses on cinema as philosophy 2. Arguing over cinema as philosophy PART TWO: AN INTENTIONALIST APPROACH TO FILM AS PHILOSOPHY 3. Types of authorship in the cinema 4. Partial intentionalism PART THREE: ON INGMAR BERGMAN AND PHILOSOPHY 5. Bergman, Kaila, and the faces of irrationality 6. Value, authenticity, and fantasy in Bergman Conclusion

Paisley Nathan Livingston

Papers

Art and intention

The Routledge companion to philosophy and film.

On an Apparent Truism in Aesthetics

Theses on Cinema as Philosophy

Cinema, Philosophy, Bergman: On Film as Philosophy